Abderrazak Sahli's works undeniably generate livened-up shapes with diversified aids and arrangements. His acrylics, whether on canvas or cut out paper, are a happy dance of elements, both recurrent and personalized, which make the coloured surface vibrate.
The round formats emphasize the chromatic beating of modular shapes offering the viewer the visual adventure of an eternal come back. By alternating between the "full" (coloured) and "the empty” (uncoloured), he seems to have endowed his starry mutant creatures with a kind of cosmic energy.
In the middle of the inceptive world created by the artist, emerge some indefinite shapes sailing to the unknown, neighbouring each other by contact or as if by animation. The beauty of these airy "tondo" comes from the very expressive strength of the lightness of the materials and the expressive strength of the whole.
Between painting and engraving, it's the plastic ambivalence, which makes the work. Actually, all the art of Abderrazak Sahli is his ability to play with paradoxes of the picture in a creative aesthetic way. This is truly what we find in his recent pictures in the large format where he takes the most of the possibilities offered by the surface through the effects of a diagram built between depth and shape like in a presence field and concomitant colour lines. The dynamism of the elusive fabric generates some appearances and absences, in a sign system without any significant. The proliferation of picturesque elements, between transparency and superimposition, livens up the flatness of the work and sets up a sensorial reception mode, with his alternation of bright colours and neutral tones, the surface of this paintings are no more than pure sensations. All objects of any kind which stem out of them are mere shows reminding us of the very essence of painting seen as colour lines arranged in ordered patterns. Actually, as if by mockery, it is to the origin of painting that the artist brings us back in a subversive and outrunning way.
He reconstructs the classical representation scene by substituting the frame of painting to the art itself in its nude form.
This offers an unusual frame for painting of a figurative type with a play active pictography. From this fictitious construction in the form of painting, it is once again the plainness, which manifests its authority and priority, through drawings and decorative elements. Like hieroglyphic beings, delivered from their rigidity, these characters of another kind with their choreographic postures, take us into a totally oniric universe. The contrast between the modular edges of these original steles endow the whole work with a singular energy.
It seems that this new way adopted by the artist is that the aesthetic of the whole of his work, an emphasis on play active of the act of painting as an infinite circulations of presence equivalents of life shows.
The round formats emphasize the chromatic beating of modular shapes offering the viewer the visual adventure of an eternal come back. By alternating between the "full" (coloured) and "the empty” (uncoloured), he seems to have endowed his starry mutant creatures with a kind of cosmic energy.
In the middle of the inceptive world created by the artist, emerge some indefinite shapes sailing to the unknown, neighbouring each other by contact or as if by animation. The beauty of these airy "tondo" comes from the very expressive strength of the lightness of the materials and the expressive strength of the whole.
Between painting and engraving, it's the plastic ambivalence, which makes the work. Actually, all the art of Abderrazak Sahli is his ability to play with paradoxes of the picture in a creative aesthetic way. This is truly what we find in his recent pictures in the large format where he takes the most of the possibilities offered by the surface through the effects of a diagram built between depth and shape like in a presence field and concomitant colour lines. The dynamism of the elusive fabric generates some appearances and absences, in a sign system without any significant. The proliferation of picturesque elements, between transparency and superimposition, livens up the flatness of the work and sets up a sensorial reception mode, with his alternation of bright colours and neutral tones, the surface of this paintings are no more than pure sensations. All objects of any kind which stem out of them are mere shows reminding us of the very essence of painting seen as colour lines arranged in ordered patterns. Actually, as if by mockery, it is to the origin of painting that the artist brings us back in a subversive and outrunning way.
He reconstructs the classical representation scene by substituting the frame of painting to the art itself in its nude form.
This offers an unusual frame for painting of a figurative type with a play active pictography. From this fictitious construction in the form of painting, it is once again the plainness, which manifests its authority and priority, through drawings and decorative elements. Like hieroglyphic beings, delivered from their rigidity, these characters of another kind with their choreographic postures, take us into a totally oniric universe. The contrast between the modular edges of these original steles endow the whole work with a singular energy.
It seems that this new way adopted by the artist is that the aesthetic of the whole of his work, an emphasis on play active of the act of painting as an infinite circulations of presence equivalents of life shows.
Text by Rachida Triki
